Podcast appearances and mentions of Peter Rabbit

VEM: Alan Adler EPISOD: 44 (Säsong 3 avsnitt 9) EN PODD AV: Simon Kölle www.linktr.ee/simonkolle PRODUCERAS AV: Simon Kölle & Amir Noghabai SÄSONG 3 GÖRS I SAMARBETE MED: FrameSage, med hjälp utav FrameSage kan du finansiera ditt filmprojekt eller investera i film.  Besök www.framesage.com  SÄSONG 3 SPONSRAS AV: Story Academy och Film Crew. Drömmer du om att jobba med film och TV? På Gotlands folkhögskola finns Story Academy och Film Crew – två utbildningar för dig som vill in i branschen. Tack till Erik Bolin som vikarierar som Voice Over.  Om episoden:  I det här speciella avsnittet vänder vi på rollerna – för första gången får vi möta Alan Adler inte som speaker, utan som gäst i Filmbranschpodden. Alan har varit en självklar röst i varje avsnitt sedan starten, men hans egen historia är minst lika fascinerande som de gäster han vanligtvis introducerar. Född i Stockholm, uppvuxen i England, formad av Manchester och London – Alan har haft en karriär som spänner över illustration, musik, tv, skådespeleri och röstproduktion. Han har varit trummis i ett new wave-band, prisad illustratör för Penguin och Island Records, programledare och komiker på TV3, röst på BBC och National Geographic – och idag kanalröst på History Channel samt frilansande skådespelare. I avsnittet går vi igenom Alans bakgrund som ung konstnär i England under 70- och 80-talet, hänget bland banden i den växande indie-scenen i England,  vägen till att bli en av de absolut mest anlitade och ledande illustratörerna, hur det var att bli upptäckt av Jan Stenbeck inför TV3:s första sändningar, skillnaden mellan att uttrycka sig i bild, ljud och scenframträdande, röstarbete, storytelling och varför humor ibland är livets nödutgång.  Alan pratar varmt om sin bortgångne, numera legendariska bror Martin som gick bort i arbetet som journalist.  Vi lotsas genom olika aneckdoter, vändpunkter, refuseringar och oväntade framgångar.  Det här är ett varmt, reflekterande och stundtals riktigt roligt samtal med en unik kreatör och berättare vars karriär verkligen gått mellan konstens, mediets och uttryckets gränsland. Länkar till mer information om Alan Adler:  Arbetande som London-korrespondent åt Today Show: https://www.youtube.com/watch?v=j-ASiQPNPUg The Thunderboys: https://www.youtube.com/watch?v=MWD7EvkbU9Y Från TV3 tiden med "komedi"-partnern Ola Scherve.  https://www.youtube.com/watch?v=gtbNvGy_SbM Här skriver TJM (Manchester skivbolaget) fint om den stil Alan utvecklade (deras text finns längst ner i slutet av illustrations tråden).  Den åttonde illustrationen där det står "Peter Rabbit" illustrerar i sig något som varit viktigt i Alans arbete. Gränslandet mellan det figurativa och det abstrakta.  Där Alan trivs: https://www.mdmarchive.co.uk/artefact/34737/Alan-Adler-Photograph-1979 Veckans brott om Martins mord: https://vimeo.com/178633836 Att hamna i den här grupperingen var stort för Alan: https://www.mdmarchive.co.uk/artefact/32948/New-Order-Paul-Morley-Alan-Adler-Garment-1985

A fun inspiration - on GARDENING DAY!Beatrix Potter

I feel like Peter Rabbit in this story as I seem to always be looking for Rattles the Kingfisher. Today, we read the story titled “Some Feathered Diggers” from the book “The Burgess Bird Book for Children” written by Thornton W. Burgess.   Website: http://www.thefightingmoose.com/   Blog https://thefightingmoosepodcast.blogspot.com/   iTunes: https://itunes.apple.com/us/podcast/the-fighting-moose/id1324413606?mt=2/   Story (PDF): http://ww.thefightingmoose.com/episode453.pdf   Reading List: http://www.thefightingmoose.com/readinglist.pdf   YouTube: https://youtu.be/olZ561abI2M/   Book(s): “The Burgess Bird Book for Children” http://www.gutenberg.org/ebooks/3074   Music/Audio: Artist – Analog by Nature http://dig.ccmixter.org/people/cdk   National Aeronautics and Space Administration (NASA): http://www.nasa.gov   Song(s) Used: cdk - Sunday by Analog By Nature (c) copyright 2016 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/cdk/53755 

Welcome back to part 2 of our first ever Spanish Storytime series! If you are interested in looking at the translation for the story, we have our script up on our patreon page!www.Patreon.com/EatYourSpanishAnd as always, if you are interested in virtual Spanish lessons, please reach out to us atwww.EatYourSpanish.com!

n 1906, Beatrix Potter acquired a farmhouse in the Lake District of England. Her new house and garden became incorporated into her stories about the famous characters in her books, such as Peter Rabbit and Mrs. Tabitha Twitchet, that still delight children today. She delighted in the plants that her neighbors gave to her: roses, hollyhocks, and phlox, and the fruit trees and vegetables growing in an informal way among the flowers. She blended the practical with the beautiful. There was a long flower-edged path leading up to the house, and she described her gardening style as higgledy-piggledy. Both Beatrix and her garden were utterly unpretentious.

Welcome to our first ever Spanish storytime! In this two part series we will read a story to you in both Spanish and English. If you are interested in looking at the translation for the story, we have our script up on our patreon page!⁠www.Patreon.com/EatYourSpanish⁠And as always, if you are interested in virtual Spanish lessons, please reach out to us at⁠www.EatYourSpanish.com⁠!

Hello there!!  Welcome to Alberts bookshelf.  We hope you enjoy listening to Peter Rabbit Good Night Peter one of Alberts favourite books.Thanks for Listening.

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In British Children's Literature in Japanese Culture: Wonderlands and Looking-Glasses (Bloomsbury, 2023), Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture.  Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Like the American Robin, the European Robin is a bird of yards and gardens. But it's not much bigger than a chickadee. The robin's likeness turns up everywhere from Mother Goose rhymes, Peter Rabbit stories, and whiskey labels to postage stamps and Christmas cards. On at least two occasions, the “Robin Red-Breast” has won the popular vote to become the UK's unofficial national bird. And as for its breast color — one account has it that when the robin visited souls in Purgatory to refresh them with water, its breast was scorched to its current shade.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible. 

In this episode of the Starry Nights Podcast, we present to you the beloved children's tale, "The Tale of Peter Rabbit." Join us on this delightful journey as we follow Peter Rabbit's mischievous adventures. This story is perfect for winding down and drifting off to sleep, and we hope it becomes a bedtime favourite for you. If you'd like to enjoy episodes ad-free, consider joining our premium tier—your support means the world. Enjoy! ✨ Follow Our Instagram! Instagram.com/starrynightspodcast Premium Content: podcasters.spotify.com/pod/show/starrynightspodcast/subscribe Buy Me a Coffee: buymeacoffee.com/starrynights Contact us at podcaststarrynights@gmail.com

Beatrix Potter's tales and illustrations of Peter Rabbit, Tom Kitten and friends, set in quintessential English villages and on Edwardian farms, have charmed children for decades. But alongside being an artist and author, Beatrix Potter was a natural scientist, a conservationist, a farmer, sheep-breeder, and shrewd businesswoman. So how did this shy, sheltered Victorian girl become a literary phenomenon? What did it take to succeed in the male dominated world of publishing? Why did she focus so much of her attention on the conservation of the Lake District? And what was the tragedy that might have stopped her career in its tracks?  This is a Short History Of Beatrix Potter. A Noiser Production. Written by Fiona Veitch-Smith. With thanks to Libby Joy, from the Beatrix Potter Society. Get every episode of Short History Of a week early with Noiser+. You'll also get ad-free listening, bonus material, and early access to shows across the Noiser network. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to noiser.com/subscriptions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Book written by: Emma Thompson Book read by: Laura Marshall Podcast produced by: Audio Mommy Podcast Day three of the twelve days of Christmas!

Send us a textWe apologize for our November technical difficulties. Thanks for your grace. This is the a new recording of our 11/7/24 episode.

Gillian Woodward and Roger Basick share about Beatrix Potter, the creator of Peter Rabbit, and events in her life that influenced her imagination and creativity.https://spotlightenglish.com/biography/who-made-peter-rabbit/Download our app for Android at http://bit.ly/spotlight-androidDownload our app for iOS at http://bit.ly/spotlight-appleFacebook: https://www.facebook.com/spotlightradioAre you learning English? Are you looking for a way to practice your English? Listen to Spotlight to learn about people and places all around the world. You can learn English words, and even practice English by writing a comment.Visit our website to follow along with the script: http://spotlightenglish.co

Gillian Woodward and Roger Basick share about Beatrix Potter, the creator of Peter Rabbit, and events in her life that influenced her imagination and creativity.https://spotlightenglish.com/biography/who-made-peter-rabbit/Download our app for Android at http://bit.ly/spotlight-androidDownload our app for iOS at http://bit.ly/spotlight-appleFacebook: https://www.facebook.com/spotlightradioAre you learning English? Are you looking for a way to practice your English? Listen to Spotlight to learn about people and places all around the world. You can learn English words, and even practice English by writing a comment.Visit our website to follow along with the script: http://spotlightenglish.com

Dr. Mitch Shulman can be heard every weekday morning at 7:50 on The Andrew Carter Morning Show.

In tonight's bedtime story for kids, selected from Abbe's bookshelf, we'll be reading Beatrix Potter's Peter Rabbit & Friends! We'll follow Peter Rabbit, Benjamin Bunny and Tom Kitten on their cheeky adventures around Mr McGregor's fields. Relax, get sleepy, and let's begin!  Upgrade to Koko Club Today!

Someone has taken Peter's Father's journal. He launches a secret mission to find it.

Hey there, little listeners and grown-ups!

After growing up overseas and traveling extensively, Kirsten realized it's more fun when everyone is invited to the sandbox, so she went to Seminary and got her MDIV. Now she is a creative who strives to bring different voices and points of view on her podcast Byte Sized Blessings as well in her re-writes of the Peter Rabbit book series.Please rate us on Apple and Spotify and subscribe for free at mikeyopp.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mikeyopp.substack.com/subscribe

Artist and academic Sequoia Danielle Barnes redresses the ugly side of kitsch and ‘cute' toy cultures, telling histories of trickster rabbits from Peter Rabbit to Bugs Bunny, appropriated from Black Southern American folklore from the 16th century to now. With ceramics, fabrics, and super sticky slugs, Sequoia Danielle Barnes' new installation is an Afro-surrealist retelling of Br'er Rabbit and the Tar Baby, a folktale developed by her enslaved ancestors after being ripped from Africa and displaced in Alabama, in the United States - the place she grew up before pursuing her practice in ‘transatlantic' institutions. Here, stories about figures like Uncle Remus, Uncle Ben, and Aunt Jemima, often first told as a means of action guidance for outsmarting slavemasters, were mainstreamed into 20th century pop art and cultures. Sequoia's exhibition takes its title from the 1946 film, Song of the South, a nostalgic representation of the antebellum, pre-Confederate South, revealing how ‘cuteness' masks anti-Black racist tropes and propaganda. We discuss how popular consumption of Western/European films, TV adverts, and commercials can perpetuate forms of oppression and marginalisation, including racialisation, infantilism, violence, and the cannibalisation of enslaved peoples. Sequoia tells of her interest in ‘Tellytubby lore', how children's cartoons and animations can sustain critical traditions of surrealism, and why younger people more readily engage with her work than adults. From her creepy and uncanny collectibles, we discuss why major institutions protect and preserve golliwogs, golly, and ‘piccaninny' dolls, and Sequoia's ‘Black radical art practice' in spaces like CCA Glasgow, Fruitmarket, and the National Museum of Scotland. Sequoia shares her subversive influences from the Black diaspora, including Faith Ringgold, Betye Saars, Robert Colescott,and Eddie Chambers. With Theaster Gates, Patrick Kelly, Joe Casely-Hayford,, we explore Afrofuturism, and find entanglements in their own practice, between works with textiles, fashion, and pottery. Beneath the dark humour and sweet surfaces of their works, Sequoia speaks of connections between contemporary consumption and capitalism, and historic sugar cane plantations. exposing how legacies of colonialism, slavery, and global trade still shape society today. Sequoia Danielle Barnes: Everything Is Satisfactual runs at Edinburgh Sculpture Workshop until 28 August 2024. The exhibition is part of Edinburgh Art Festival (EAF) 2024, which continues in Scotland until 25 August 2024. For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now): pod.link/1533637675/episode/2cab2757a707f76d6b5e85dbe1b62993 Read about Sonia Boyce's Feeling Her Way (2022), her Golden Lion-winning British Pavilion (2022), at the Turner Contemporary in Margate, in gowithYamo: gowithyamo.com/blog-post-app/feeling-her-way-sonia-boyces-noisy-exhibition And read about Edinburgh Art Festival (EAF) 2023, in gowithYamo: gowithyamo.com/blog-post-app/edinburgh-art-festivals-reckoning-with-the-citys-colonial-legacies EDITOR: Alex Rees. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

In this EpiSode, Danielle & Sarah discuss how Hollywood and ‘the media' often get it SO wrong when it comes to food allergies. Making a life-threatening condition into a joke is not ok, and Danielle & Sarah are fired up about it. Comedians, late night talk show hosts, social media personalities — many have taken jabs at the allergy community… which can change the public discourse and attitude toward allergies in the process. Danielle shares how she processes it all, and Sarah explains how she talks to her kids after they watch something about allergies unexpectedly.  CONNECT WITH US: Follow EpiPod on⁠⁠ Instagram⁠⁠ and⁠⁠ TikTok⁠⁠ To connect with Danielle - click⁠⁠ HERE⁠⁠ To connect with Sarah - click⁠⁠ HERE⁠⁠ Thank you to our presenting sponsor,⁠ ⁠Lorissa's Kitchen⁠⁠! Big shout out to our new sponsor, ⁠⁠TelyRx⁠⁠. And as always, we appreciate⁠ ⁠InchBug⁠⁠ for sponsoring the Q&A portion of EpiPod. CODES + LINKS: Lorissa's Kitchen – Shop⁠⁠ ⁠HERE⁠⁠⁠ with code: EPIPOD for 15% off InchBug – Shop⁠ ⁠HERE⁠⁠ with code: EPIPOD25 TelyRx – Order ⁠⁠HERE⁠⁠ with code: EPIPOD for 20% off ****A box of 2 epipens is $299.99 – $240 with the code! Our med bags: Allermates – Shop⁠ ⁠HERE⁠⁠ with code: EPIPOD10  Our peanut clean-up wipes: Well Too Wipes – Shop⁠ ⁠HERE⁠⁠ with code: EPIPOD20  - Shows/Movies/Media/Etc. that discuss allergies (both good and bad): Leo, Over the Hedge, Puss & Boots - The Last Wish, Big Bang Theory episode, contestant on Survivor, Peter Rabbit, "Dude Dad", Paw Patrol (Chase), Mrs. Doubtfire, Suits, Freaks & Geeks, Cloudy with a Chance of Meatballs, Hitch, Knives Out 2, RHONJ

Nous sommes en octobre 1902, au Royaume-Uni. C'est aux éditions Frederick Warne & Co., maison fondée, trente-sept ans plus tôt, à Londres, par un libraire qui lui a donné son nom, que paraît l'histoire d'un jeune lapin facétieux et désobéissant qui s'aventure dans le jardin d'un certain M. McGregor. « The Tale of Peter Rabbit » est d'emblée un immense succès dont les multiples réimpressions vont totaliser, jusqu'à nos jours , près de cinquante millions d'exemplaires. Traduit en trente-six langues, « le conte de Pierre lapin » deviendra l'un des plus grands best-sellers de tous les temps. Ni plus ni moins. Et pourtant, l'aventure n'avait pas démarré sous les meilleurs auspices, puisque son autrice, Beatrix Potter, essuyant les refus répétés des éditeurs, s'était résignée à faire publier son ouvrage à compte d'auteur. L'énigmatique Beatrix Potter, la timide Beatrix Potter qui se fera, pourtant, redoutable femme d'affaires, douée pour le merchandising autour de son œuvre. « Il y a quelque chose de délicieux à écrire les premiers mots d'une histoire, écrivait-elle, vous ne savez jamais où ils vont vous emmener. » Assurément ses histoires l'ont menée à la campagne, hors de la présence envahissante de ses parents, auprès des Herdwick sheeps, ces moutons à laine très épaisse, adaptée à la rudesse des climats de la région des Lacs, dans le nord de l'Angleterre. Audacieuse, volontaire, dans une certaine mesure, émancipée mais, en même temps, anti-suffragettes qui était Miss Potter ? Sujets traités : Beatrix Potter, Peter Rabbit, Royame Uni, Londres, best-sellers, auteur, anti-suffragettes Avec nous : Eliane van den Ende. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

The Jackalope's crew desperately tries to clear their former captain's reputation, while Peter Rabbit travels to remote and dangerous corners of the galaxy searching for a mysterious “Doctor” who can help him find those responsible for the incursion at Hare Command. Learn more about your ad choices. Visit megaphone.fm/adchoices

On Episode 233 of Jake's Happy Nostalgia Show, our guest is writer and producer Adam Peltzman! Early on in Adam's professional writing career, he was a writer and head writer on the long-running Nick Jr. series Blue's Clues, where he also voiced the character Green Puppy! After Blue's Clues, Adam became a writer and head writer on The Backyardigans, wrote for The Wonder Pets!, Bubble Guppies and Peter Rabbit and created the series Wallykazam! Aside from his work with Nick Jr, he wrote for the PBS series Word World, co-created the math series Odd Squad and many more.

The Jackalope's crew desperately tries to clear their former captain's reputation, while Peter Rabbit travels to remote and dangerous corners of the galaxy searching for a mysterious “Doctor” who can help him find those responsible for the incursion at Hare Command. Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest: Kirsten Rudberg Episode Name: From Seminary to Storytelling: Kirsten Rudberg's Creative Journey Episode Number: 252 _____________________________________________________________________________________________________ About the guest Kirsten Rudberg is an author and ordained clergy in the Church of Universal Interfaith, holding a Master's of Divinity. A panentheist with a diverse background, having lived in countries like Guyana and Pakistan, Kirsten's worldview is shaped by her global experiences and deep interest in how people create meaning through myths, fairy tales, and religious texts. She is the author of a socially conscious rewrite of the Peter Rabbit series, addressing issues such as environmental degradation and human trafficking. Kirsten's creative process is deeply spiritual, viewing herself as a vessel for higher creative energies. ________________________________________________________________________________________________________ In this episode, Massiel's guest, Kirsten Rudberg, who holds a Master's of Divinity and identifies as a panentheist, discussed her unique background living overseas and how it shaped her views on the world and her writing. She introduced her book series, a modern and socially conscious take on Beatrix Potter's tales, tackling issues like environmental degradation and human trafficking. Kirsten emphasized the importance of timing in the creative process and shared insights on how the pandemic provided her the space to bring these long-held ideas to fruition. She also touched on her unconventional yet deeply spiritual writing process, describing it as a partnership with a higher creative force. ________________________________________________________________________________________________________ Additional Resources Website - www.blackheartedstudios.com Freebie link - https://bit.ly/h2bebook Massiel's Email - massiel@blackheartedstudios.com Massiel's Coach.Me site - https://www.coach.me/massielwrites Instagram - www.instagram.com/massielwrites LinkedIn - https://www.linkedin.com/in/massiel-valenzuela-castaneda/ Facebook  - www.facebook.com/howtowriteabookpodcast ___________________________________________________________________________________________________ Are you feeling overwhelmed by your never-ending to-do list? Check out Paula, the Ultimate VA! https://pearlzconsulting11.wixsite.com/pearlz-va-services Discover the ultimate solution for regaining control with Paula, your dedicated virtual assistant. She'll help you manage your calendar, handle email, conduct research, social media management, and even mix and stitch together your podcast episodes. Don't let your to-do list overwhelm you any longer. Get started today! ______________________________________________________________________________________________________ About Kirsten Kirsten Rudberg's website - https://bytesizedblessings.com/ Kirsten Rudberg's Instagram - https://www.instagram.com/bytesizedblessingspod Kirsten Rudberg's Facebook - https://www.facebook.com/bytesizedblessings ______________________________________________________________________________________________________ Like, share, or leave a review on Apple Podcasts and subscribe to our YouTube channel (Blackhearted Studios)

Tayshan Hayden-Smith's Wikipedia entry tells you he is a professional footballer from Ladbroke Grove, London. Nicknamed the "English Neymar" Tayshan had a burgeoning international career underway until the Grenfell Fire in 2017 took 72 lives from his local community. A quest for healing led him into the world of horticulture and his non-profit organisation Grow to Know was born with the aim of addressing societal and environmental inequality. Its activities earned Tayshan a new name as the "Grenfell guerilla gardener" and he helped create a Grenfell garden from leftover nursery plants. Fast-forward 7 years and he has partnered with The Black Gardener Danny Clarke to take the Hands Off Mangrove garden to Chelsea Flower Show, become and RHS ambassador, appeared on Your Garden Made Perfect (BBC1) and Alan Titchmarsh's Gardening Club (ITVX). Talking to senior reporter Rachael Forsyth on the podcast, they first discuss the Peter Rabbit-inspired community garden that Grow to Know worked on in partnership with publisher Penguin Random House that typifies Tayshan's philosophy as a gardener."It was otherwise an unused bit of land in the school and now it's one of the most used bits of the school where the kids, at every opportunity, just try to be in that space."[It's] just to see how magical that is for the children ... threading in those ideas around kind of food security and growing our own food and biodiversity and the importance of wildlife in, especially in, urban space.Though Tayshan clearly seeks and finds solace and beauty in plants, the driver behind his career is activism, but he says he's not expecting any Government to respond to lobbying to support horticulture for education, well-being or the environment:"I'm kind of tired of asking now and I think we just got to do, so, I'd like to think that we're leading by example of what we're doing... I think it's for the people and for the local organisations and grassroots organisations to show the way rather than relying on those who clearly just can't deliver."He queries why for more than a century RHS Chelsea Flower Show has "existed on the more affluent side of the borough, but has never had any impacts on North Kensington. "In North Kensington, you can expect to live on average 20 years less than someone who lives in South Kensington.... that stark bit of data really inspires the need to build that bridge to a place that is filled with resource, filled with beauty, filled with magic, filled with nature, yet there are people who are suffering on the outside of those boundaries."It is very political and I think we have to understand that from the very get-go and through that lens...When I tell you that people are living 20 years less and a big influencing factor of that is nature access, then it should be taken seriously.Tayshan Hayden-Smith's book, Small Space Revolution, Planting Seeds of Change in Your Community, is "an amalgamation of my experiences, my insights, my thoughts, but also the thoughts, experiences and insights of many other people around the world. And so there's case studies in the book, there's ideas and thoughts, there's interviews, there's how-tos. And so hopefully you can open a book at any page and take some inspiration...I guess it will hopefully activate the activism within [readers]."Our intention is to bring gardening, horticulture, nature, to the fore to the people that could really do with it, the people in survival mode on the 10th floor of tower blocks... For me if we can engage those people then we can engage anyone." Hosted on Acast. See acast.com/privacy for more information.

This week, we're meeting potential lesbian Beatrix Potter and definite lesbian Jemima Puddleduck as we head to the world of Peter Rabbit and Friends! Learn about animal clothes, infertility and accents, and celebrate the welcome return of CAT FACTS! Get extra bonus nonsense at Patreon Follow us!  @queersgoneby on IG, Twitter and TikTok @thekatebutch on IG, Twitter, FB and TikTok @acaitlinpowell on IG, Twitter and TikTok Find us on our YouTube channel Music: Disco Sting by Kevin MacCleod

A retelling of the classic Beatrix Potter story about a mischievous rabbit. Narrated by: Evie Brown Written by: Beatrix Potter Welcome to Snuggle! Enter a cozy world of imagination perfect for bedtime, quiet time, or any time you want to embark on an enchanting adventure. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠slumberstudios.com/snuggle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Start your 7-day free trial of Snuggle Premium: ⁠⁠⁠⁠⁠⁠⁠https://snuggle.supercast.com/⁠

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden, CEO of Rubber Cheese.Fill in the Rubber Cheese 2024 Visitor Attraction Website Survey - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcast.Competition ends on 3rd July 2024. The winner will be contacted via Twitter. Show references:Lego House in BillundSutton Hoo (National Trust)Sutton Hoo at the British MuseumThe Dig on NetflixSutton Hoo mask on Lego IdeasThe Dig: Lego version of Sutton Hoo treasure 'amazing' (BBC News)Events at The Hold IpswitchAndrew Webb is a LEGO enthusiast who uses bricks in outreach programmes for teams and organisations as diverse at Arm, Pinset Mason, The National Trust, English Heritage, and the Scouts. During the UK's second Lockdown in early 2021, He made the 1500 year old Sutton Hoo Helmet out of LEGO bricks and submitted it to LEGO Ideas. The build achieved international media coverage, and has since been donated to the National Trust. Andrew continues to help attractions and institutions with LEGO programmes. By day, he works as a global head of content marketing for a B2B tech company. Find out more at http://teambuildingwithbricks.com Transcription:  Paul Marden: Welcome to Skip the Queue, a podcast for people working in and working with Mister attractions. I'm your host, Paul Marden. Today I'm talking to Andrew Webb. By day, Andrew is a content marketer for a tech firm, but in his spare time helps attractions to use Lego as a tool to attract and engage diverse audiences and enable them to interpret history and culture. We're going to talk about what it means to be an building, a model of anglo saxon helmet, and the 24 skills that are used when building with Lego. Paul Marden: So welcome to the podcast. Andrew Webb: Thank you. Paul Marden: On Skip the Queue, we always start with some icebreaker questions that you know nothing about. So let's launch into a couple of those. Book and a pool or museums and galleries for your city break. Andrew Webb: Museum and galleries.Paul Marden: Yeah. I'd expect nothing less given what we're about to talk about. This is one from one of my colleagues, actually, who is really good at icebreakers whenever we do a team building eventually. So he said, “Would you rather have it and lose it or never have it at all?”Andrew Webb: Oh, gosh, I'll have it and lose it for sure. Paul Marden: Yeah, gotta be. That one's from miles. Say thank you, Myles. That was a cracker. Andrew Webb: Do you remember the word there was a great one. Would you rather eat ten donuts or raw onion? Paul Marden: Oh, ten donuts, hand down. I could easily do that. Andrew Webb: I'd get onion. I'd get onion. Every time I would take an onion over ten donuts. I'd be sick after ten donuts. Paul Marden: Oh, no, I reckon I could take that. No problem. Andrew Webb: Okay. Paul Marden: Okay. So we're going to talk a little bit about your adventures in Lego over the last few years. So why don't we kick off and talk a little bit about your original interest in Lego? Because I know it goes back not a long way, because that would be rude. But it goes back to a few years ago, doesn't it? Andrew Webb: It does. I mean, like most people growing up in what we might loosely term the west, I had like, I was a kid, you know, I think most of us grew up with it like that. And then like, you know, growing up in that first age of plastics with Heman, Transformers, Lego, Star wars, all of that sort of stuff. Paul Marden: You're just describing my childhood. Andrew Webb: It's funny because that was. It was all sort of ephemeral, right? I mean, the idea was that the reason why that boom happened, just to dwell on why they're going plastic things. Before that, toys were made out of either tin or wood. So, you know, they were very labour intensive produce there's certainly injection moulding comes along and we could just have anything coupled with the tv shows and the films and all this sort of stuff. So we all grew up in this sort of first age of disposable plastic, and then it all just gets passed down as kids grow up. It gets given away, gets put in the loft and forgotten about. There's a moment when a return of the Jedi bedspread doesn't look cool anymore, right? You hit about 13, 14 and you're like, “Mom, I really want some regular stuff there.”Andrew Webb: So like everybody, you know, I gave it all away, sold it and whatever, but I kept onto my lego and then fast forward, you know, I become a parent and Lego starts to come back into my life. So I'm sort of at a stage where I'm working for a travel startup and I get a press release to go to the Lego House, which if no one has heard about it, where have you been? But also it is a fantastic home of the brick, which Lego built in, opened in 2016. And it is a phenomenal temple to Lego. Not in terms of like a Legoland style approach with rides and things like that, but it's all about the brick and activities that you can do in a brick. Andrew Webb: There is great pools and huge pits of Lego to play with there, as well as displays and all this sort of stuff. They've actually got a Lego duplo waterfall.Paul Marden: Really? Andrew Webb:  Oh, I mean, it's a fantastic attraction. And the way they've done it is just incredible. So they blend a lot of digital things. So if you make a small fish and insert it into this thing, it appears in the tank and swims around and this sort of stuff and the way you can imprint your designs on things. I should just quickly tell you about the cafeteria there as well, just really quickly. So the cafeteria at the Lego House, everyone gets a little bag of Lego and then whatever you build and insert into this sort of iPad sort of slots type thing, and that's what you're. Andrew Webb: So a pink brick might be salmon, a yellow brick might be chicken, whatever, and you put it all in and it recognises it all and then it comes down a giant conveyor belt in a Lego. Giant Lego box and is handed to you by robots. I mean, mind blowing stuff. This is not like with a tray at the National Trust place or somewhere like that for us to come. It is a technological marvel. Absolutely fascinating. So, of course, on the day went, it was a press preview, so there was no canteen workers, so there was no food in the box when me and my daughter, so went without that data, was a bit disappointed. Andrew Webb: But that started that whole reappreciation of Lego, both as a toy to play with my daughter, but also as a way of using Lego in different ways. And that manifests itself in lots of different things. So currently, now, you know, fast forward a little bit. I use Lego for team building exercises, for workshops, for problem solving with organisations, and also just for having fun with adult groups as well as kids. And I think one of the biggest things we've seen since this kind of started around 2000s with the sort of adults reading Harry Potter, do you remember that was like, why are you reading this children's book type of thing? Paul Marden: Yeah. Andrew Webb: And then all the prequel Star wars films came out and Lego made sets about both those two things. And it kind of. I mean, Bionicle saved the company, as only AFOL will know, but it started that whole merchandising thing and adding Lego into that firmament of IP. Right. And we fast forward now, and it's Marvel and Star wars and everything. Paul Marden: You just said AFOL. I know what an AFOL is, but many of our listeners may not know what AFOL is.Andrew Webb: Just to go for acronyms here. So an AFOL is an Adult Fan of Lego. And we've seen actually Lego in the past five years, even earlier. I mean, Lego always had an adult element to it. And one of the original founders used to use it for designing his own house. And there was a whole architectural system called Molodux. So it's always had that element to it. But just recently we've seen, you know, almost retro sets. So we see the Lego Atari 2600 video game system from 1976, which, yeah. Paul Marden: An original NES wasn't there. Andrew Webb: Exactly. NES that's come out. I've got a Lego Optimus prime back here for transformers, you know, all that kind of stuff. So with what's been really interesting is this kidault or whatever, however, call it. And I think that's really fascinating, because if we think about Lego as a toy, we are rapidly approaching the age where we might have three generations of people that have grown up with Lego. Lego first came around in the very late ‘60s, early '70s. And so it's not inconceivable that you might have three generations that had Lego as a child, especially if you grew up in Denmark. A little bit different when it would come to the rest of Europe as they expanded out. So I get to this point, and I'm getting into Lego and doing all this sort of stuff. Andrew Webb: And then, of course, COVID happens and then lockdown happens and we all think the world's going to end and no one knows. Everyone's looking for hobbies, aren't they? They say you were either hunk, drunk or chunk after lockdown. You either got fit, got fat or got alcoholic. So try to avoid those three things. And, you know, everyone's looking for stuff to do, so you have so much banana bread you can bake. And so I stupidly, with my daughter's help, decided to make the Lego Sutton Hoo helmet, the 1500 year old Sutton Hoo helmet found at Sutton Hoo in Suffolk, now in the British Museum. Out of Lego, as you do. Paul Marden: I mean, just exactly. Just as you do. So just a slight segue. I was at the National Attractions Marketing Conference yesterday and there were two people presenting who both talked about their experiences of wacky things that they did during lockdown. There was one person that opened a theatre in her back garden and had various different stars just randomly turn up in her backyard up in North Yorkshire. And you choose to build a Lego Sutton Hoo helmet.Andrew Webb: Lockdown, there will be a time, I think, as we look back, tragic though it was, and, you know, a lot of people died, but it was that moment when society sort of shuffled around a bit and people sort of thought, “Well, if I don't do it now, why not?” People were launching bakeries in their kitchens and serving their community and like. And that element of it. And so people have that. The good side of that, I suppose, is that people did find new outlets of creativity. And Joe Wick's yoga class is in their front row walking groups, you know, all this sort of stuff and beating beaten horsemans and learning to play the violin and dust and stuff. Suddenly we all had to find hobbies because we're all just in. Andrew Webb: No one was going to restaurants, no one's going to bars, no one's going to gigs, nightclubs, theatres. We like to make entertainment at home. It was like the middle ages. So I decided to build the Lego Sutton Hoo helmet, as you do. And so I start this in lockdown, and then, like, I get wind that Netflix is making a film called The Dig. And The Dig is all about, I think it's Lily James and Ray Fiennes in it, and it's all those other people. And it's all about when they found theSutton Hoo helmet. And the guy who found it was called Basil Brown, and he was asked by Edith Pretty, who owned the land, to excavate these humps in the ground that were on her estate. Paul Marden: Okay, so she owns this big estate, in Suffolk, right? And, so she can clearly see there's burial mounds in the back garden, but doesn't know what's in them. Doesn't have any clue that there's treasure locked up inside this. Andrew Webb: I'm not even sure she knew there were anglo saxon burial maps since it was. Paul Marden: They were just lumps of ground in the garden. Andrew Webb: Yeah. I mean, she may have had inkling and other stuff I've turned up over the years and whatever. And some of them were robbed sort of georgian times around then. So some people knew what they were and they were somewhere excavated and gold was taken to fund the polynomial wars and whatnot. But she asked Basil Branson, he was like an amateur archaeologist, right? And so he was just like this local guy would cycle over and do. And the film goes into all that, and the film kind of portrays it as working class. Basil Brown should know his place against the sort of British Museum who are sort of the baddies in this film who think they know what. And of course, this is all set against the backdrop of war. So they escalated it all, then they had to rebury it. Andrew Webb: And then it was used as a tank training ground, so lots of tanks rolled over it. So it's a miracle anything was ever found. But when he did find the Sutton Hoo, who told me and a bunch of other things, clasp brooches, shields, weapons and whatever, when he did find it, so people think it kind of popped out the ground as a helmet, but it didn't. And if you look at the photos, it came out the ground in hundreds of pieces. Paul Marden: Oh, really? So you look at this reconstructed mask that's now in the British Museum, and you think, “Oh, so they just found that in one piece,” lifted out as if it was a Lego hat, you know, for a minifig. In one piece? No, not at all. Andrew Webb: It was actually more like a big parlour Lego in the fact that it was just in hundreds of thousands of pieces. And so there was the first guy to have a go at it was an elderly architect at the British Museum who was, I think, blind in one eye. And he had a go at putting it all together. And he used an armature and clay and pins and whatever, put it all together and said, “Yes, I think it was this.” And then actually it wasn't. He got it all wrong. Lots of different pieces after some more research, and then it falls to this. Nigel Williams is another sub architect, and he was famous for. Andrew Webb: There was a famous Portland vase that was broken in a museum by someone pushing it over as a sort of what you might call, like a just stop oil type of protest now, I can't remember what the call was, but someone smashed an exhibit. And he had painstakingly pieced all this together. He was a total dapper dude. Three piece suit, Chelsea boots, proper swinging sixties, and he had to go and put it all together. His version is the one that's in the British Museum, but he was a massive jigsaw fan. And if you think about Lego, what it is a 3d jigsaw. You get a bunch of pieces and you have to make. Make it into a 3d sculpture. So that was one reason, the dig was the other reason. Andrew Webb: The third reason was that the relationship between East Anglia and essentially Denmark and Billand and Anglo Saxon and Jutland and all that area, I'm talking like Vikings and Anglo Saxons and invasions and all this kind of stuff against the native British, there is essentially a relationship between East Anglia, a trade relationship and a conquest relationship between them. So I built this thing and I frantically put it together and I'm late nights and just losing my marbles trying to get this thing to work. Because Lego is not designed to make, like, spherical shapes, necessarily. It's quite blocky. Right. Everyone knows this. It's the square. Paul Marden: Really easy to make a car, really easy to make a house. A spaceship. Andrew Webb: Houses. Brilliant. Yeah. Square stuff is fantastic. But baking, not only a sort of a semicircle, but a hemisphere, which is what essentially a helmet is. Is even harder because you have to get the Lego to bend in two directions. And so a lot of work went into that just to get the actual face piece came together quite easy. And there was once I had the scale of the pieces under the eyes that formed that sort of thing, and then I could build the nose and face. Ideally, it was going to be so that I could put it on my head. I've actually got a massive head. So in the end, I had to realign that and sort of make it into this sort of child sized head. Paul Marden: But it's a wearable thing, right? Andrew Webb: It is. It is wearable. I mean, at one point, it was probably more fragile than the one in the British Museum because it just kept dropping to pieces. So there's a lot of sub plates that are holding together the outer plate. So it's actually sort of. So just quick Lego terminology here. So bricks, obviously are bricks. The flat things with bubbles on are called plates and then the smoother ones are called tiles. Okay. And used a combination of these to create. There's also a technique called SNOT, which stands for Studs Not On Top. We love acronyms in the Lego community. Right? Paul Marden: Completely.Andrew Webb:  So if you say, “Oh, man, I'm an AFOL covered in SNOT,” people know what you want to know what you mean. So after a night in the tiles, I got covered. Yeah. Andrew Webb: Anyway, so I make the helmet, I make the thing, and then, you know, I get a lot of support from the National Trust, specifically East of England National Trust and Sutton, who site itself because it's there. It's their crown jewels. The British Museum, not so much, because they was like, we've got a billion exhibits here. No, it's just one of them. When you've got the Tippecar moon and the Rosetta stone, it kind of pales into significant. But actually, they were helpful. And one of the curators there, who was on Twitter, who sent me a link to some 3d photos, because if you. If you google it's all pictures at the front. That's fantastic. But what does the back look like? Paul Marden: Oh, right, okay. Andrew Webb: So actually, buried deep in the British Museum's website, in their research department, under a filing cabinet, in the back of a server somewhere, are some quite technical photographic images of it, turning every sort of 30 degrees so that. That it's documented as to what it looks. Because you got to remember that everything on the helmet is symbolic of various different things. There is symbols that mean there's a guy on a horse who's sort of fighting and all this sort of stuff. And it all has quite a lot of meaning. I can occur from different parts of history as well. So there's some sort of roman influencing things there and symbols. And so this whole thing is designed to be not only a battle helmet, but it is also because, remember, crowns haven't been invented yet. Crowns are a later mediaeval sort of invention. Andrew Webb: So this is both a symbol of authority, headwear, like a crown, but also a weapon or a piece of defensive armour and equipment. So it has several functions in its life. So it's quite a complex piece of equipment, that this symbol of authority. So I make all this and then I also submit it to a thing called Lego Ideas. So Lego Ideas is a fantastic programme where anybody in the world, members of the public, can submit Lego Ideas, right? And they go onto a website. There's certain criteria, they have to meet a certain checklist, but then the rest of the public can vote for them. So, I mean, if Taylor Swift just stuck together a load of blocks and said, “Vote for this,” she probably hit the 10,000 threshold instantly. Andrew Webb: But I'm not sure Lego would necessarily take that forward as a build. So there is a judging panel that. But actually, some of the most recent really fantastic sets have come out of Lego Ideas. Members of the public, and they're designing things that the Lego designers wouldn't have thought of themselves. So I think that's been kind of interesting. Sadly, Paul, we didn't make the 10,000 threshold. We did a lot of media coverage. By then, lockdown was over and were sort of getting back to our lives and all this sort of stuff. And my daughter was entering her dark ages. And so it sat in my studio for another sort of year and a half and I thought, “What am I going to do with this?” And so in the end, I thought, “Well, you know what? It's gathering dust here. I'm fed up with it, dustin it.”Andrew Webb: And so I actually approached Josh Ward at the National Trust at Sutton Hoo, who has been a fantastic advocate for Lego and for this particular project, and I have to thank him immensely for that. And they got some money and some funding to build a cabinet and also to house it. So I donated it to National Trust and it is now on display there as part of their firmament of interpretational trail. Paul Marden: That must feel pretty good fow you. Andrew Webb: Yeah, it is quite good looking in there and watching kids go, “Wow.” Because Lego is one of those things instantly recognisable for kids. But certain hill as a site is quite complex for children to contextualise because essentially it's several mounds in the ground. And the helmet itself is at the British Museum. Right. They've got a replica built by the royal armouries. There were several of those. They've got those. They have loads of dress up, they have great explainers and videos and they do a lot of work to show the size and shape and things as a cast iron sculpture, to represent the boat, to show just how big it was when it was pulled up from the sea, because he's buried in a boat. So do a lot of that work, sort of that sort of work as well. Andrew Webb: But having this extra funding in the. They opened up Edith's pretty's house now, and having this room where we've got some other things as well, like crayons and paper and other tools and drawings and colouring in and Lego and big chest of Lego just helps, particularly smaller children who, by the time they've walked from the car park around the site, and it has probably flagged it a little bit. And so just providing that little support for them, it's been a fantastic way to contextualise and another way to interpret that. And I think more and more venues could look into that. When you think, well, how else can we add stuff, particularly for children to help tell the story of this place? Paul Marden: Yeah, absolutely. Absolutely. We went to. It was half term last week and went to the City Museum in Winchester. So they've got some mediaeval, they've got some Roman finds there, and there was lots of fun, but they had. It was full of lots of ways for kids to engage, so there was trails to go around, there was colouring in, make your own mediaeval shield. And all of these things are ways that, you know, my ten year old could engage with it because there's only so many glass cabinets of stuff dug up from the ground that she actually wants to look at. Andrew Webb: I mean, I love. I love pit rivers, right, in Oxford, my favourite museum. Paul Marden: It's crazy, isn't it? I love it. Andrew Webb: But basically, he just went around the world nicking stuff. Right, but as a collection of objects, It's fantastic. Paul Marden: It's deeply unnerving. Andrew Webb: Sorry, sorry if any pit rivers curators are listening there, nick, and stuff about it, but, it is my favourite museum because it's just for kids. It's probably really kind of like, how do you tell that story? I also think there was an article in the garden recently that, you know, the cost of living crisis as well. Parents are looking for value solutions now and so I think it wasn't Peppa Pig World, it was Paddington World. And a family ticket is 170 pounds. That is a huge dent in the family finances for a 70 minutes experience. If you are watching the pennies, if you can afford that and save up for it, whatever. And I know these things are, you know, memory making and all that sort of stuff, and I've been to Harry Potter with my daughter. Andrew Webb: That is not cheap, but it's a fantastic day out because once you're in, you spend the whole day there. If you take a packed lunch, you can save a lot of money on that, on the thing. But I suppose what I'm saying is that, you know, our museums and galleries, particularly traditionally, the what you might call free spaces, public spaces, are facing unprecedented demand in terms of parents looking for cost effective value days out, as well as funding being cut from central government and that sort of. So they have to do a huge amount with less and less for a bigger audience. And that is a strain on any institution and things like that. Other examples of places that get this. Andrew Webb: So obviously with the Sutton Hoo helmet, the hold in Ipswich, which is Suffolk Council's kind of flagship museum in the county town of Ipswich, but instead of calling it, you know, the Museum of Suffolk, they've called it The Hold, which is a reference to the fact it's on, I think it's either because it's on the shore or it's doing sheep, I'm not sure anyway. But a fantastic space, contemporary modern space  had a Lego exhibition a few years ago, borrowed my helmet, had some Lego exhibition stuff to do. And the good thing about that is when these teams have to do quite a lot of comms marketing and, you know, that has a cost as well, but often you see different demographics than perhaps would normally go to a stones and bones museum, if you know what I mean. Right. Andrew Webb: You'll see that it makes it more accessible to the community and to different people who don't like going and looking at the Magna Carta or whatever. For some kids, a day at the British Library is fantastic. Look at all these old books for more, maybe more boisterous children. That's probably not a really great idea. So I think galleries can take a leaf out of this and think, or museums or any institution really can take a leap out of this and think, “How can we do more for less? And what tools can we have that perhaps we haven't considered before, like Lego, as a way to open up our interpretation and our offering?” So this could work in Museum of Docklands, for example. This could work in the royal armouries. Andrew Webb: There's lots of places where if you looking to improve your children's offering that some form of lego, I mean, it ends up all over the floor, it ends up being taken away. Sometimes you've got to watch out for things like that. But that's why I always recommend, like, just the basic blocks and plates, not minifigures and stuff like that, because, you know, they just end up in kids' pockets and trousers. But I do think it is a fantastic tool for developing that interpretation piece. Paul Marden: So I run a coding club using Lego. Okay. So I work with years four, five and six, typically. And we normally start off by the end of two terms, we will be building robotics, programming things, doing amazing things. But we start at the very beginning with just open up a box, and it is amazing what a bunch of seven, eight and nine year olds can do with a two by four red brick just given bricks. Yeah. And they will build amazing things. Yeah. And they will tell you amazing stories. And you also see real diversity in the behaviours of children, because some children, in that free play context, they do not have the skills to do that. And I had one girl recently who hasn't played with Lego, and free play just blew her mind, and she was in tears because she couldn't embrace the creativity of it.Paul Marden: But then the following week, when we were following instructions, she was great at building from a set of instructions, You can do that from a limited palette and give them a mission. Sutton Hoo, build a, I don't know, a sword, build a shield, build something to interpret what you have seen. You're in the transport museum. Build, build. How did you get to the museum this morning? Give them something to do and then let them go. And half an hour later, you will be amazed by what they will have built. Andrew Webb: I actually did something this at the National Archives down in Kew, where they had a kids exhibition. Well, an exhibition in the summer about wacky inventions, because obviously the National Archives holds the patents for all these things, and they've got things like Victorian top hats with umbrellas in, and, you know, all this kind of crazy Heath Robinson style stuff that, you know, forks with four sets of tines, so you can eat four times as much. It just bonkers. Really interesting things. The curators had gone through and found this wacky world, sort of. What's his name? The guy that illustrates Roald Dahl. They got illustrations and all that. Paul Marden: Quentin Blake. Andrew Webb: Yeah, Quentin Blake, yeah. So they had this Quentin Blake sort of stuff, and, like, there was activities. And I came down for some special stuff because they had the first Lego brick patent in the UK. When it was first launched in the UK, 1963, I think it was. That's when they filed the patent. Paul Marden: And I bet. So that patent would be exactly the same as a two by four brick, now, won't it? Andrew Webb: The patent was for a one by four brick. Isometrically dawn. Just three diets. Just three views with what? It was a construction toy. And then the page. Sorry. And the address was just Railway Station Billund.  There wasn't like, just all the mail just went to the railway station in Billund just addressed for attention of Lego. And it's only like. I mean, it's not even a sheet of A4, It's a piece like this. And after it is something like a lamp that won't blow out on a thing, and before it's like some special kind of horse comb, but it's kind of this bonkers catalogue of just these things. But again, it was about, “Right. We did some work. The curators and interpreters looked, you know, had kids analyse the painting to think, what could it be? And look at the dates and structure. Look at that.” Andrew Webb: And then I came out and, like, did some Lego. So we did things like, who can build the longest bridge? Who can build the tallest tower out of a single colour? Those sorts of exercises. But then also the free play was build your own wacky invention. And kids are building automatically dog washers, where the dog ran on a thing and it scrubbed its back. And one kid built something that was like a thing for removing getting pips out of apples. It was just like this sort of like this crazy little tool. They like some sort of problem that he had. Andrew Webb: And I think what this also speaks to is developing those stem skills in children and adults and building that engineering, because I've also ran Lego workshops with explorers who I used to, I thought were between Cubs and scouts, but are actually after scouts. So I did this in my local town, here in Saffron Walden, and was like, “Oh, my God, these kids are like, 15, 16. They're not going to want to play Lego. Some of them are in my daughter's year at school, so. Hello, Amy.” And it was really interesting because we did a series of challenges with them. So the egg drop challenge, can you protect an egg and drop it from the floor? And can you build this and work together? Another good one is looker, runner, builder. Andrew Webb: So you give everybody two sets of the same bricks, and one person is the looker, one person is the runner, one person is the builder. So the looker can't touch, but he can tell the runner. The runner can't look at the model, he can only tell the builder, and the builder can't speak back. And so this is a really useful exercise. And I've done this with teams where, because this is exactly what businesses see, engineering will build a product. Sales or their marketing are like, what the hell is, you know, or whatever it might be. Paul Marden: It's that. It's that classic cartoon of a Swing, yeah. Andrew Webb: Yeah. So it's that, you know, this is what the brief said. Engineering interpreter does this. Marketing saw it. So it's a great tool for things like that. Especially when you put people like the C Suite or CEO's or leaders at the end, because all they're getting is the information and it. It's there and it's how to build communications. Because in life, the fluctuations reverse. A CEO says, “Let's do this.” And by the time it's cascaded down to engineering, who don't get a say, it's not at all what he imagined so, or they imagined so, it's. It's an interesting case of using tools like that. So I did that with these kids and it was fascinating because they're 14, 15, 16.Andrew Webb: A group of three girls won two out of the three challenges and probably could have won a third one if I felt that I couldn't award it to them again because it would just look weird. And they were smashing the looker runner builder thing. They were working together as a team, they were concentrating, they were solving problems, they were being creative, they took some time to prototype, they refined and iterated their design. They were doing all this sort of work. And it's brilliant because 15 year old girls don't often take engineering related STEM subjects at GCSE. Certainly, probably don't take them at a level and more than enough. And I think that I once interviewed Eben Upton, who invented Raspberry Pi, and he said, “We think about the eighties as this sort of like golden age of computing, but actually it was terrible. It was terrible for diversity, it was terrible for inclusion.“Andrew Webb: And he said, “Like growing up, there was one other kid in his town that had a computer, you know, so there was no sort of way to sort of getting other people involved and make this accessible.” And part of the reason now computers have got smaller. Some of the work I did at Pytop was like trying to make technology more accessible and seeing it not just video games and things like that, but actually I can use this in a fashion show, or I can make music, or I can use this to power some lights to do a theatre production, and trying to bring the, I guess, the creative arts into technology. And that's when we start to see the interest application of technology. Andrew Webb: And Lego plays a part in that, in the fact that it is a tool, a rapid prototyping tool that everybody is familiar with. And it is also, you know, clean, safe. There's no, you don't need blow torches and saws and those sorts of things to kind of prototype anything. You don't even need a pair of scissors, you know, it's completely tool free, unless you're using that little mini separator to get your bricks apart. And so I think that just circle back on, like, how the Science Museum or what's the one down there? Isabel Kingdom Brunel Museum and things like that. I can see those guys could be and should be thinking about, “How could we have a Lego programme?“Andrew Webb: You don't have to have a permanent deployment like they've got at Sutton Hoo although that is great because they've got the mast there as the head piece of it. But certainly a programme of events or summer camps or summer events, because I did this with English Heritage at Kenilworth Castle as well. They were having, like, a big Lego build and the public were invited in 15-minute shifts into a big marquee and everyone got given a tile. And the idea was to build the gardens because the gardens at Kenilworth Castle were laid out to impress Elizabeth the first. And so everybody got there was like bunches of stuff and regular bricks, also flowers and this sort of stuff. And it was like, “Come on, we've got to build something to impress a queen.” Andrew Webb: He said to kids, like, “Yeah, you've got to impress. Bling it up, like, dial it to ten.” And were just getting these enormous, like, avatar sized trees with just incredible bits hanging off it. And like, “There she has a teapot because she might want a cup of tea.” And you're like, “Brilliant, excellent. Of course she does.”  And so I think that. And then they moved through. Some of the Legos were selected to be displayed and things like that. So there's different ways you can do it. You can either do it as like. And I'm a big fan of the drop in sessions because kids and parents can just naturally build it into their day rather than the pre built. My child was. We were rubbish at, like, organising things. Andrew Webb: People like, “Oh, great. Half term, it's a chocolate thing, sold out ". And you're like, yeah, because there's 30 spaces for three and a half thousand kids who want to do it. Whereas if it's like a walkthrough or a. In groups phase through and then the activity, small kids kind of conk out after about 20 minutes, half an hour anyway. You get much more people through and much more people get to enjoy the experience rather than the 30 organised people who got up early and booked. So that's my other top tip to any institution, because it's heavily weather dependent as well. Sun comes out, everyone piles pass into the nearest sort of stately home, national attraction. All of those places can definitely benefit English Heritage. Did a really big push this half term, just gone on Lego at several events. Andrew Webb: We had one here at Audley End, there was one at Kenilworth that I was at. There's been pairs of the ones all around the country, because again, you just need a marquee, which most venues have access to because they use them for other things or some sort of space in case it rains. And you just see someone like me and a whole massive tub of Lego and you're off to the races. Paul Marden: Exactly. So we were talking about this at the conference yesterday about ways in which. So for many attractions, people turning up is a literal flip of a coin. Is the weather good or is the weather bad? What can you do to adapt your attraction to be able to deal with when it's bad? And then what can you do to bring people when you have made that adaptation? So, you know, you've now got a marquee and you have a Lego exhibit that you can put into there. So it's just dumping a pile of Lego and a bunch of well trained volunteers or visitor experienced people who can facilitate that, police it, little Johnny sticking minifigs in his pocket. Paul Marden: And then you turn on your Google Adwords and show that you've got this, you know, bad weather reason to go to a stately home that my daughter would turn her nose up to all of a sudden, “Okay, we're going to go and do that. We're going to go and have afternoon tea and you're going to go and play with some Lego and see some animals, maybe.” Yeah, what can you do to attract that extra audience and adapt to the bad weather and service different sorts of people? Andrew Webb: I think that comes down to a bear in mind. I convert some of my Lego lens rather than a venue lens. But I think speaking as a parent and someone who does this is you need a reason to go back to somewhere that you already know. Okay, so you go to Stonehenge, you go and look at the stones, you go, “Wow.” You look at the visitor centre and then it's ticked off. I mean, you see busloads of tourists. Stonehenge is at Cambridge, maybe, or Oxford people, when people do England, Lambeth, Heathrow, London Crown Jewels, Tower Bridge, West End, day trip out on a coach to Stonehenge, maybe to Cambridge, and that's it, off to Paris. Right? So parents like British people like that too. Like why go to Stonehenge four times a year? Or why go to any venue when you're familiar with it? Andrew Webb: It's always about offering something new and something different. Audley End up near where I live, I think, is English Heritage. All through July, every Sunday, they're just doing music. So there's a string quartet or someone with a harp or maybe someone with a guitar or whatever. And you've got a book, but it's. It's not like there's 30 places and it's a bonfight. It's just like, “Oh, wow, they've done something different.” They do a really great thing. Like, they do victorian falconry, for example. So they get someone in who talks about how Victorians use falconry for hunting as a sport, but also for the kitchen table, and they're flying falcons around and doing the whole bit of meat on a string and all this sort of stuff. And everyone, like, “They do a world war two one.”Andrew Webb: I mean, the editorial calendar for any venue's got to look like, “Go and make Christmas food. January, we're closed to kind of dust and clean everything. Valentine's Day, chocolate make you put. It's daffodils”, it's whatever it might be. And then you just build that. Build that programme in and you need. This is why I think that venues now, again, I'll just come back to that. You talk about AdWords, but that, again, is more spend. It's like, how'd you build that mail list? How do you drop into the local Facebook groups and Mumsnet and all that kind of stuff? You know, that's where you can do it organically rather than. Because people don't sit in front of Google necessarily, or think, like, what should we do? Paul Marden: You sit on the sofa on a Thursday night trying to figure out what on earth are we going to do this weekend? Yeah, so you're completely right. The mum's net, the content marketing, is hugely important, isn't it? Andrew Webb: Which is my job. But also it's kind of like how can institutions become part of that? When I say community, if you think about most people travel a thin hour to go somewhere. I mean, people go further afield, you know, but. But basically it's like, what? My mom turns, like, a tea and a pee. So you've got to go somewhere. You've got to have a cup of tea, visit the loos. It's all about tea. It's all about canteens and loos, basically. You could have a World Heritage Site, UNESCO World Heritage site. And it's like, how good's the caf? And are the toilets clean? Yeah, that's what people remember. Gar went hens at dawn. I was awed by the majestic. But that Looney D cleaning, you know, it's not good. It's all that people come home with. Andrew Webb: So, you know, institutions go into place that they are trying to offer different things. Like late nights. We've talked about that. How can we use this space after hours? Because if you think about it, if your institution's open 10 till 6, most people are at work five days a week, you're gonna have students and pensioners who are gonna be not great spenders, either of those two groups. So, late nights, I went to a great one in the National Gallery when the James Bond film. I was kind of sitting royale or whatever. He's still on the top of the National Gallery overlooking Trafalgar Square, and they've got the national dining rooms there and they had Vesper Martini, everyone got a cocktail. Andrew Webb: And then went to look at the fighting Temeraire, which is the bit where he's standing with Q, the new Q, who voices Paddington, whose name escapes me and gives him, like, a gun and a radio, but they're like the fighting Temeraire by Turner is this little thing. And so, you know, you've got to make hay out of that, right? You've got to sort of, like, do a late night, various ones. And so all it was a few cocktails in the cafe next door and are taught by the curator and stuff like that. But 30 people just looking for an experience. And so if venues are clever, of course, the dark side of this is when you get Willy Wonka world up in Scotland. Andrew Webb: Or interestingly, some of the Lego events that have been happening at NEC have caused a massive online backslash in the community for just being exceptionally bad value for money. And so you read about these things that people have said, “Come and visit Santa's grotto, and it's just a muddy field with a tree in it,” so you've got to be careful. But I think those events, those sort of fly by night kind of institutions, don't really work. But how galleries can leverage the creativity of what they're doing? Whether they are come and paint in our, you know, our local gallery, come and have an art class, come and do that. People are looking for stuff to do that is value for money. That isn't always drink lead, you know, it's not always cocktail making or things like that. Andrew Webb: And that comes with a whole heap of other things and dietary requirements for cookery courses and just clean up and the mess and all that kind of stuff. So I think that, yeah, canning organisations, the ones that can really think about that, and I'm happy to help organisations who want to think about this, especially through the life of Lego. They will be the ones that will start to add and build out and develop their. What you might term this whole sector needs a name. The kind of extracurricular offering, we might say, above and beyond their collection and then their traditional interpretation and if they're. Paul Marden: Thinking of doing this. So there's a good why. Yeah, the why is you can reach diverse audiences, helps people with interpretation. Andrew Webb: Quite cheap. Paul Marden: Yeah, absolutely. It's a cheap way of extending your offering and diversifying what you do. You can bring in event elements to this, but how do they do it? Apart from engaging with somebody like you? And I'm going to guess there's not many people like you. So that's going to be a tricky thing for some people to do. But if they were starting from scratch, how would they go about doing this? You said earlier, “Don't go mad with buying the bricks and spending a fortune on.”Andrew Webb: There are people like me that can do all this as well as myself. I think that the first thing is plan it. Plan what you need to do. You can't throw this stuff together. You might be looking at. Already the hold have been contacting me for a late night they're doing in September. They contacted me April. Paul Marden: Okay. Andrew Webb: Because if you're a creator, you're planning exhibitions, you are thinking on that long term cycle. Paul Marden: Yeah, completely. Andrew Webb: And so what you need to do is bake this in as part of that curational process or part of the interpretation of things at the start, rather than like, “Right, we're doing exhibit on Peter Rabbit, let's chuck in a load of fluffy bunnies or whatever.” You know, it's got to be. You've got to think about it and have it contextualised. I think the best things are. What success looks like is, first of all, you need a space. Now you can hire a marquee that comes with a cost. If you're a venue and you've got your own or you've got a hall or a stables or interpretational room or something like that, often spaces, specifically bigger ones, will have classroom spaces for school groups anyway. So that's often that can be where you can host these sorts of events. Kids are very familiar. Andrew Webb: The chairs are all small wall colour, you know, etc. Industrial strength carpet in case stuff gets built. So locations like where you're going to stage this? Paul Marden: Yeah. Andrew Webb: Secondly, I think you need to think about, what do we want people to do? What is the experience? What is the narrative piece? Because you can't just say, here's a big part of Lego. Kids will just build cars and houses, right? You know, they need context. You know, if you give a kid a sheet of paper, you could draw anything. They're like, well, what? And so you need to give them a mission almost. They need a task, I think. Also think about, as I said before, keeping the tasks around 20 minutes, because actually adding the time running out jeopardy element is quite fun for kids because they'll go, “Well, I've only got five minutes left.” And often that's when it all falls apart and then they have to iterate the design. Andrew Webb: So think about that kind of moving people through in 15 to 20 minutes cycles. We had kids at Kenilworth, that would go out the exit and just walk back around and come in the front like that. Like four or five times. One boy came in, he was loving it. So think about that. Think about how you're going to move people through the space. Think about what you need to envisage it. So the Kenilworth, for example, there was me hosting it from dawn toward dusk. We had another builder there who was helping take break it all down and put them against the model that we built. There were two members of staff who were letting people through, so just monitoring it from an entry exit point of view, walkie talkies, in case people had issues and things like that. Andrew Webb: And think about when you're going to do it. Okay, so half term is a good one. It's a good thing to do. We saw a lot of this at Kenilworth, but I've seen other places as well, particularly half terms and things like that. You often see grandparents caring for grandchildren, right? Because parents are at work and grandparents can only walk around the site so much before they want to sit down. So sometimes have it, like, think about where they can. And when I was at Kenilworth, grandparents came in with their two grandkids, and the kids started playing and I was like, you could join in, too. Oh, no, I don't want it. You know, they were almost like, “I can't do this. It's like, come on, get in, get in. Come on, grandma. Come on. I'll show you how it works. “Andrew Webb: By the end of that session, they were memory making. I then took their photo with their phones, they'd have this sort of grandparent. But, you know, you always say it like, my grandfather taught me to fish. Like Sean Connery says in the hunt for red October. This sort of moment where sort of, it's a Hollywood trope that grandfather knowledge is sort of passed on type of thing. Right. And so you can see that where you could have this, almost either the reverse of that, of kids showing grandparents, but also they're all having this event outside of the parental unit. So it's a new type of experience. It adds value, it gets people to play with their grandkids. Paul Marden: Priceless. Andrew Webb: So I think that's kind of an interesting way. So think about when, think about where and think about what will be my three sort of tips for any institution looking to put this together. Paul Marden: You gave one the other day which I thought was priceless, which was, don't give them wheels. Andrew Webb: Oh, yes. Paul Marden: Don't include the wheels. Andrew Webb: Take the wheels out of any sets, unless you are the Transport Museum or the, you know, a car based museum, because kids will do wings as well. I'd probably suggest taking those out because kids have just built cars. Some kids have just built cars, you know, even if you give them a mission. Unless that is the mission. The other thing that I would think that venues could do as well as sort of all day events, because it's quite a time drain, you know, on staff and this sort of stuff, but it is a value. The other thing you can think about is one off evening events for adults. Yes, I've done this. I did this at my local add them shops. Bricks, beers and bubbles challenges supercompass teams. Think of it like a pub quiz with brick is the answer. Andrew Webb: So build me a thing that does that kind of thing. Teams all get together, you can race them, you can see who goes the furthest. You can do all this stuff. And the hold is what I'm doing at the hold in September. I did it at the hold a couple of years ago. And what was interesting was that we had quite diverse groups of adults. We had just couples who were clearly AFOLs and were like, “Yeah, I'm going to go to that.” We had a group of friends. One of them had just come back from years travelling and they didn't want to go sort of straight to the pub and just interrogate him about his travelling, whatever. Andrew Webb: They kind of like, “Well, we wanted something to do where we could have a beer and have a chat, but were doing something else whilst we're doing that.” And that's the joy of Lego. Your hands are doing the work and you're almost like the back of your brain is doing the work and you're like, “Oh, yeah, yeah. Before you kick them.” And the concentration levels are there and then you can kind of get into that state of flow. And so they were just having this lovely chat, had a beer, talking about stuff, but also memory making in terms of when he came back from his travelling. So I think that's really important. Andrew Webb: Did you know that this is your brain, right? And then your brain on Lego, there are 24 discrete skills that are happening in your brain. So Lego research this, things like fine motor skills, cognitive sort of thinking about things, future planning, my favourite emotional regulation that is not going, “Oh, my God, it's not working. And smashing all to pieces.” So I've seen this as well with children, is that when you give them a Lego, if you gave them jelly and a football, they'll all just. They're a high energy kind of things, right? And that's fine, great outdoors, kids want to burn off energy. Here's a load of balls. Go crazy, right? Or ball pits, trampolines, bouncy castles, those sorts of things. When you get on Lego, what actually happens is it's very hard to be anarchic, to use a wrong word, but a word. It's very hard to be anarchic with Lego because you can't really do it. Andrew Webb: And so you can get a group of kids together and they'll almost self invigilate. And at one point, I ran it at a local toy shop and the parents are all hanging about and like, “I've never seen them so quiet.” They were just in the state of flow. And so, I think, you know, again, back to the. Back to the explorers and the scouts, that was one of the best sessions that those kids had done as teenagers because the reason was they were given permission to play with Lego. They still had the muscle memory from when they were smaller children. They were solving. They weren't just being told to play with Lego, they were actually solving engineering challenges. How can you design a bridge that will take this weight? How can you protect an egg? How can you think about this? Andrew Webb: And so you need to think about the challenge and the what. You need to think about that, the where and you think about the when, as I said, and get those right. You can have a very exceptional visitor experience for not a huge amount of effort. It's not highly costly, it's not highly technical, it's just a bit of elbow grease and a bit of forward thinking in terms of what we might need. And I think that parents appreciate just that minute away where they can. It's almost like a 20 minute babysitter, right, where they can just go, “Don't touch that.” You know, you're walking around a stately home, “Don't sit there, don't touch. Mind the lady.” All that kind of no data that parents give out institutions, they can just take a breather and check their phones and whatever. Paul Marden: And the kids are just having an amazing time. Andrew Webb: Yeah. And the kids are happy. And at the end of the day, as a parent, we all do our best and you just want, you know, them to be playing with something screen free, getting along and learning something. And, you know, that is the win. That is the ultimate takeout. You can layer on your own institution in context and rev up the visitor experience, bring in new visitors, attract a more diverse group of people that perhaps wouldn't normally come to a Regency Rococo style villa or whatever it might be, then that's all to the better, because, you know, you can start to use this in your planning and you can do what Suntton Hoo did? And go, right, well, we've done this and it's really worked. Andrew Webb: And then I can apply for funding for it and I can expand and I can make it permanent and then I can sort of say, well, this now becomes a tool and a string and arbo for our educational. It doesn't have to be split between visitor attractions and development. It can, you know, you can split it between several parts of the institution and use it in different ways, use it for educational purposes as well as visitor experience. So the world's your oyster with a bit of thinking. Paul Marden: With a bit of Lego and a bit of thinking. Andrew Webb: Bit of Lego, yeah. A few bricks and a couple of tricks and you're off to the races. Paul Marden: Andrew, this has been brilliant. Thank you ever so much. Andrew Webb: You're welcome. Paul Marden: I've got one more question for you before we finish. Now, you bottled this earlier on when I said we always have a book recommendation from our guests. And in spite of having the fullest bookshelf I've seen in quite a long time, you've bottled it on a book. But you did offer me a favourite movie. And so what would be your movie recommendation of choice? Andrew Webb: My go to movie would probably be Withnail and I, Richard E. Grant's first film. Every line has came down from God on a tablet. I mean, it is just. Yeah. Richard Griffiths as Uncle Monty, Paul McGann. It's just one of my favourite films and, you know, cult classic that no one's really. Well, people have heard of it now, but again, they even make stuff out with Alan Eyright. So you can go and watch a screening of it at the farm at Crow Crag up in Penrith, you know, and everyone dresses up and everyone comes with Mister blathering sets tea and I come on holiday by mistake and Jessie says, Danny. Andrew Webb: And, you know, fortunately, for better or for worse, I know these are tough times, but people try and find the fun in things. They try and at the end of the day, everyone's looking for a good time, whether we're children or an adult. You want something to just have a laugh and take you away for a moment. And if films and culture but also experiences can do that, then that's all for the good. Paul Marden: Well, look, this is going to be a challenge, but listeners, if you would like a copy of Andrew's film recommendation, then when we release the show message on X, if you can retweet that and say, “Give me Andrew's movie”, then the first person that does that, somehow I will get the movie to you. It might be on VHS, it might be on DVD, but somehow we will get you a movie. Andrew Webb: I found a CD the other day from a bar I used to go to in Clapham in the noughties and late ‘90s. I said to my mate, look, I'm great, put it on. And I went, “I can't.” I haven't got a CD player anymore. I had to go dig through a box somewhere in the study to find a portable CD player that plugged into my computer that could. By the end of it, we're just laugh. Forget it. Paul Marden: Andrew, this has been wonderful. Thank you ever so much. Andrew Webb: You're welcome. Cheers. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, SkiptheQueue.fm. The 2024 Visitor Attraction Website Survey is now LIVE! Help the entire sector:Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsFill in your data now (opens in new tab)

Peter Rabbit races against time and an old rival to find a precious artifact. Star Rabbit Tracks, “Statues, Racing and Doobie Bunnies” was written by N.J. Rainford. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Being forced to talk to other people allowed me to find this other part of myself that I didn't know existed.” – Kirsten Rudberg Today's featured bookcaster is a panentheist, screenwriter, producer, and believer in humanity, Kirsten Rudberg. Kirsten and I had a fun on a bun chat about her books, what it was like living overseas during her formative years, what inspired her to do a dark, subversive rewrite of the Peter Rabbit series, and tons more!!Key Things You'll Learn:How getting banned from her school library helped her become more outgoingWhat is panentheism and how it shapes her thinkingWhat keeps her creativity muscles strongHer top 3 lessons learned from starting, running, and growing her podcastKirsten's Site: https://bytesizedblessings.com/Kirsten's Books: https://www.beastlybooks.com/s/search?q=Kirsten%20RudbergKirsten's Podcast, “Byte Sized Blessings”: https://podcasts.apple.com/us/podcast/byte-sized-blessings/id1533828698?uo=4The opening track is titled "Heatsource" by the magnanimous chill-hop master, Marcus D (@marcusd). Be sure to visit his site and support his craft. https://marcusd.net/Please support today's podcast to keep this content coming! CashApp: $DomBrightmonDonate on PayPal: @DBrightmonBuy Me a Coffee: https://www.buymeacoffee.com/dombrightmonGet Going North T-Shirts, Stickers, and More: https://www.teepublic.com/stores/dom-brightmonThe Going North Advancement Compass: https://a.co/d/bA9awotYou Might Also Like…Ep. 807 – Inside The Mind of The Author Activist with Dawn Bates (@msdawnbates33): https://www.goingnorthpodcast.com/ep-807-inside-the-mind-of-the-author-activist-with-dawn-bates-msdawnbates33/Ep. 781 – Laughter, Learning, and Liberating Yourself Through Memoir Writing with Alison Wearing: https://www.goingnorthpodcast.com/ep-781-laughter-learning-and-liberating-yourself-through-memoir-writing-with-alison-wearing/279 – “Peak Performance Ghostwriting” with Kathrin Hutson (@ExquisitelyDark): https://www.goingnorthpodcast.com/279-peak-performance-ghostwriting-with-kathrin-hutson-exquisitelydark/Ep. 569 - "The Other Goddess" With Dr. Joanna Kujawa (@JoannaKAuthor): https://www.goingnorthpodcast.com/ep-569-the-other-goddess-with-dr-joanna-kujawa-joannakauthor/Ep. 783 – Creativity, Faith, & Unveiling Fantastical Truths with Cyndi Brec (@CyndiBrec): https://www.goingnorthpodcast.com/ep-783-creativity-faith-unveiling-fantastical-truths-with-cyndi-brec-cyndibrec/Ep. 555 – “Sunflowers Beneath the Snow” with Teri Brown (@TeriMBrown1): https://www.goingnorthpodcast.com/ep-555-sunflowers-beneath-the-snow-with-teri-brown-terimbrown1/Ep. 354 – “Thrilling Self-Love” with Kristina Rienzi: https://www.goingnorthpodcast.com/ep-354-thrilling-self-love-with-kristina-rienzi/Ep. 568 – “The Multi-Hyphen Mystery Author Life” with Diane Bator (@bator_l): https://www.goingnorthpodcast.com/ep-568-the-multi-hyphen-mystery-author-life-with-diane-bator-bator_l/247 – “Cozy Mysteries & Inclusive Children's Books” with Kelly Brakenhoff (@inBrakenVille): https://www.goingnorthpodcast.com/247-cozy-mysteries-inclusive-childrens-books-with-kelly-brakenhoff-inbrakenville/Ep. 318 – “Beautiful, Frightening and Silent” with Jennifer Anne Gordon (@JenniferAnneGo5): https://www.goingnorthpodcast.com/ep-318-beautiful-frightening-and-silent-with-jennifer-anne-gordon-jenniferannego5/Ep. 766 – Pawsitively Organic Creativity with Liz Mugavero (@Lizmugavero): https://www.goingnorthpodcast.com/ep-766-pawsitively-organic-creativity-with-liz-mugavero-lizmugavero/Ep. 615 – “Champion Martial Artist to Award-Winning Novelist” with Danielle Orsino: https://www.goingnorthpodcast.com/ep-615-champion-martial-artist-to-award-winning-novelist-with-danielle-orsino/Ep. 443 – “Buried Beneath” with Kelly Ann Hopkins (@khopkinswrites): https://www.goingnorthpodcast.com/ep-433-buried-beneath-with-kelly-ann-hopkins-khopkinswrites/

Listen ad-free: https://fun-fables.supercast.com/It's an oldie but a goodie. It's a Fun Fables Fan Favourite!Peter Rabbit is having a great time in the vegetable patch... Until Mr McGregor spots him!This episode is adapted from a story by Beatrix Potter, which is now in the Public Domain.Email: hello@funfablespodcast.comWebsite: www.funfablespodcast.com Created and produced by: Horseplay ProductionsNarrated by: The Narrator Man Hosted on Acast. See acast.com/privacy for more information.

Our next guest was born and raised in London England, where he studied at the Royal Academy of Music and was mentored by the iconic Rupert-Gregson Williams. In 2009 he moved to Los Angeles to join Hans Zimmer's Remote Control Productions, where he worked on the music departments of various major studio films, before transitioning to solo work. Since then he has made a name for himself composing projects such as Amazon series Man In The High Castle, the Disney+ Monsters Inc. franchise series Monsters At Work, and Sony pictures films Peter Rabbit (2018), Peter Rabbit 2: The Runaway (2021), and Bullet Train (2022).  Most recently he completed the score Universal Pictures Film The Fall Guy starring Ryan Reynolds and Emily Blunt. I'm incredibly excited to chat with him on this episode! And the composer is… Dominic Lewis This episode was produced by Morgan Craig --- Support this podcast: https://podcasters.spotify.com/pod/show/composertalk/support

On this day in 1878, the White House hosted its first official Easter Egg Roll. See omnystudio.com/listener for privacy information.

Previous guest DJ Nik returns for a look at Miss Potter and Goodbye, Christopher Robin, two biopics of the authors of classic children's story characters. You'll feel the nostalgia for Peter Rabbit and Pooh Bear as you hear about these portrayals of Beatrix Potter and A.A. Milne, the impact of their families on their creations, and Margot Robbie's British accent. Plus, poll results, interactive trivia, and listener shout-outs!

After watching the 2018 film “Peter Rabbit” why not read another story by Beatrix Potter? Today, we read the story “The Tale of Mrs. Tiggy-Winkle.”   Website: http://www.thefightingmoose.com/   Blog https://thefightingmoosepodcast.blogspot.com/   iTunes: https://itunes.apple.com/us/podcast/the-fighting-moose/id1324413606?mt=2/   Reading List: http://www.thefightingmoose.com/readinglist.pdf   YouTube: https://youtu.be/3xMjaY1fOQI/   Book(s): “The Tale of Mrs. Tiggy-Winkle” http://www.gutenberg.org/ebooks/15137   Music/Audio: Artist – Analog by Nature http://dig.ccmixter.org/people/cdk   National Aeronautics and Space Administration (NASA): http://www.nasa.gov   Song(s) Used: cdk - Sunday by Analog By Nature (c) copyright 2016 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/cdk/53755 

Dave and the team were looking for you to hand in your Cool Badges this morning... AND as the news about the Wonka Experience gone wrong continues to spread, they revisit a call they had with someone who went!

Welcome back to Your StoryCorner and our new podcast episode. In this episode let's explore some little known amazing facts about the author herself of the Tale of Peter Rabbit - Beatrix Potter. Before I read you your bedtime story of two tales including the sequel The Tale of Benjamin Bunny. So settle down and relax and enjoy your bedtime story.  Yourstorycorner YourStorycorner

In this episode: Miles Smith joins the podcast to discuss the destruction of American statues and the political endgame that motivates ita lesson against civic contempt for average people and a story about the wisdom and erudition of country folka listener question about good books to introduce kids to the “great tradition”Texts Mentioned:Apply for the ISI Honors Conference!The Princess and the Goblin by George MacDonaldThe Great Tradition by Richard GambleThe Little Prince by Antoine de Saint-ExuperyThe Tale of Peter Rabbit by Beatrix PotterAesop's Fables by AesopBlessed Charles of Austria by Charles CoulombeThe Hobbit and Lord of the Rings by J.R.R. TolkienLittle House on the Prairie by Laura Ingalls WilderThe Iliad and The Odyssey by HomerThe Hardy Boys by Franklin W. DixonNancy Drew by Carolyn KeeneThe Beginner's BibleThe Chronicles of Narnia by C.S. LewisLee: A Biography by Clifford DowdeyKing James BibleBook of Common PrayerMeditations by Marcus AureliusConfederates in the Attic by Tony Horwitz“What Happens When a Poor State Guts Its Public University” by Michael PowellBecome a part of ISI:Become a MemberSupport ISIUpcoming ISI Events

In this hilarious episode Mr A+ goes head to head with one of Australia's best voice actors, Rupert Degas. Known for his roles in Peter Rabbit 2, Evil Dead, Bob the Builder and, Michael's favourite, Thomas the Tank Engine - this award winning voice actor and Mr A+ have a wonderful time improvising and sharing their favourite characters. Visit Rupert's website HERE and follow him on Instagram HERE Follow Mr A+ on Instagram and DM him here Podcast inquiries: MrAPlusPodcast@gmail.com Produced by DM PodcastsSee omnystudio.com/listener for privacy information.

#464 Missing Mr Tod - Richard has been at his kids' sports day, reminding himself of his greatest sporting triumph. His guests are Ghosts, not literally, Ben Willbond and Larry Rickard. They discuss how the pair met and their initial thoughts about each other, how they plan to prove that ghosts have bumholes, why the next series of Ghosts will be the last, why Robin is trapped within the bounds of Button Hall, why a helicopter came to Ben's school, what happened when Larry turned up to write for Peter Rabbit with a hangover, the different speech rhythms when working on American comedy shows and doing a comedy version of V.Come and see RHLSTP live - all dates and confirmed guests here http://richardherring.com/rhlstpSUPPORT THE SHOW!Watch our TWITCH CHANNELSee extra content at our WEBSITE Become a member at https://plus.acast.com/s/rhlstp. Hosted on Acast. See acast.com/privacy for more information.

Today's episode was adapted from a story by Beatrix Potter. Today we're going on an adventure with cousins Benjamin bunny, and Peter Rabbit. Follow along as Peter and Benjamin get in a whole lot of trouble at Mr. McGregor's farm.Draw us a picture of what you think any of the characters in this story look like, and then tag us in it on instagram @storiespodcast! We'd love to see your artwork and share it on our feed!!If you would like to support Stories Podcast, you can subscribe and give us a five star review on iTunes, check out our merch at storiespodcast.com/shop, follow us on Instagram @storiespodcast, or just tell your friends about us!Check out our new YouTube channel at youtube.com/storiespodcast. If you've ever wanted to read along with our stories, now you can! These read-along versions of our stories are great for early readers trying to improve their skills or even adults learning English for the first time. Check it out.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.